Abstract:
This thesis elucidates the work of Jan Nigro from the late 1930s to the mid 1980s. It charts the development of her stylistic and thematic use of the figure, noting salient areas of focus, and views her work against relevant art historical, theoretical and social contexts. It establishes that Nigro's work has a strong social emphasis which engages various historical, political and sexual issues. It further argues that her treatment of the figures and her concern with the social is at odds with the prevailing discourse of landscape painting which has dominated New Zealand art history. It concludes that her areas of interest determine her lack of recognition within New Zealand art history, but that these also represent her little acknowledged but fundamental contribution to it.
